THRAK

'80s Aftermath After recording Three of a Perfect Pair, King Crimson disbanded once again (their previous disbandment was in 1974). This break was ultimately for the good of the band, as each member needed time to explore their own skills and musical tastes, gaining insights that could enrich any potential future reunion. However, there was no set date or schedule for this.

Robert Fripp felt stagnant with the '80s King Crimson experiments. In fact, their last effort, Three of a Perfect Pair, felt more like a stagnant continuation than a groundbreaking creation. Discipline was the standout, while the rest were good but not great?and he knew it. Although he felt out of sync, he admitted that his guitar playing sounded, in his own words, "old and out of fashion."

The rest of the band also faced a crossroads, uncertain about approaching the end of the '80s without King Crimson. But in the end, everything flowed as it was meant to.

Adrian Belew benefited the most from this hiatus, as he was at his creative peak, producing acclaimed records and engaging in several projects. Fans and critics alike hailed him as the heir to the new King Crimson sound, though some critics blamed him for the band's more commercial direction.

Bill Bruford reconnected with his former Yes bandmates, forming Anderson, Bruford, Wakeman, and Howe from 1988 to 1991. This collaboration culminated in The Union Tour, a major world tour with Yes.

Tony Levin stayed busy, collaborating with Peter Gabriel on the highly successful So (1986) and later recording Us (1992). From 1987 to 1993, he toured almost continuously with Gabriel's band.

The New Guys

Pat Mastelotto's band, Mr. Mister, split in 1990. Three years later, he began a long musical partnership with King Crimson's guitar genius, Robert Fripp, performing live with Fripp and David Sylvian in 1994.

Trey Gunn first worked with Fripp on Toyah's 1991 record, though they had originally met at a Warr guitar show in the late '80s. Fripp wanted to work with him, and the Toyah record provided the opportunity. Gunn later joined the California Guitar Trio.

At that point, there was no indication of a new King Crimson project. The timing wasn't right, and in 1992, the idea of a reunion seemed far from reality.

Inner Revolution

Inner Revolution, Adrian Belew's sixth solo album, was released in 1992. The album is a collection of 1960s-inspired pop songs. Alongside his signature guitar, Belew played bass guitar, drums, and occasional keyboards. This record marked Belew's transition from experimental sounds to a more mainstream approach, leaning closer to The Beatles' 1966 sound than to King Crimson.

After hearing Inner Revolution, Robert Fripp felt that a reunion of King Crimson's '80s lineup would be challenging. Each member was engaged in projects that diverged significantly from the King Crimson sound. Belew, Fripp's most prominent "alumnus," was gaining recognition with his solo work.

Jean the Birdman

Fripp embarked on a new project beyond the California Guitar Trio, collaborating with David Sylvian on The First Day. For this project, Fripp brought in Trey Gunn on Warr guitar. Working with Sylvian and the band was revitalizing for Fripp, leading him to wonder, "What if I reformed King Crimson with Sylvian and this lineup?" However, Sylvian, a wise musician and a great person, declined, saying that this was not meant to be King Crimson's new direction.

Despite this, Jean the Birdman, one of the great hits ever written by Fripp was from the Fripp-Sylvian sessions. Fripp later recruited two musicians from his time with Sylvian?Pat Mastelotto drums and Trey Gunn bass?to join future projects.

VROOOM VROOOM

At the end of 1994, Robert Fripp and the "new guys," Mastelotto and Gunn, jammed in a studio. The band sounded great, and it was time to let go of their shyness and use the King Crimson name again. News of their jamming made it into the papers, and soon, everything started moving. They were joined by Adrian Belew in Woodstock, New York. Their work was a fusion of the Red era, the alternative scene ruling the music market, Belew's solo work, and Fripp's collaboration with Sylvian, blended with their '80s sound. This unique style would become known as THRAK.

Meanwhile, the other members, Levin and Bruford, waited at Peter Gabriel's studio in London. Soon, the complete King Crimson lineup continued rehearsals in London with the "double trio" setup?two guitars, two basses, and two drums.

A sudden and precise impact moved from intention to direction and commitment, in service of an aim. Known as THRAK.

THRAK may not be a masterpiece, but it's the most "King Crimson" record in history. All the band's principles are present: innovation, heaviness, prog, avant-garde, pop, jazz, evolution, and a touch of madness. This is King Crimson's greatest incarnation?six musicians playing and experimenting. The record may not be flawless, but the live performances were astonishing, showcasing a level of artistry that few bands can even attempt.

THRAK sounds more like a Beatles record than an alternative one, but it includes those elements too. To put it simply, THRAK mixes all these styles. If you think there are elements of Soundgarden, Tool, Tears For Fears, or heavy industrial, you're right?you can find something for everyone. It's a great record but also a difficult one; everything is here, all that you want to listen to, all that you want to think about. This period of the band was extremely bold, so good and so King Crimson. This was a great period for the band, and I truly enjoyed it.

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